Mime and Physical Storytelling Flashcards
7 cards from real LAMDA practice questions. Tap to flip, then mark Knew It or Still Learning — missed cards come back until you master them.
Read the first 7 Mime and Physical Storytelling flashcards as text
In physical storytelling, what does 'isolation' refer to?
Answer: Moving only one body part while keeping the rest still
Isolation is a mime technique where a single body part moves independently while the rest of the body remains stationary.
Which LAMDA assessment criterion most directly evaluates a performer's ability to communicate narrative without words?
Answer: Clarity of physical expression
LAMDA examinations in mime assess clarity of physical expression as the primary means of conveying story and emotion.
What is the purpose of the 'slow-motion' exercise commonly used in LAMDA mime training?
Answer: To develop muscular control and awareness of each movement's detail
Slow-motion work builds precise muscular control, forcing performers to consider every micro-movement intentionally.
A performer wants to suggest they are carrying a very heavy suitcase. Which technique is most effective?
Answer: Tilting the body toward the weight and bending at the knees
Redistributing body weight toward the imaginary object and bending the knees physically sells the illusion of mass.
In LAMDA physical storytelling, why is 'beginning, middle, and end' structure important even in a short mime piece?
Answer: It provides clarity so audiences can follow and understand the narrative arc
A clear narrative arc with beginning, middle, and end is essential for audiences to comprehend and engage with a wordless story.
Which description best defines 'counter-tension' in mime?
Answer: Two opposing forces acting on the body simultaneously, creating dynamic stillness
Counter-tension involves opposing muscular forces that give the body energy and presence even when stationary.
When portraying an invisible wall in mime, what must the performer maintain throughout the illusion?
Answer: A consistent spatial relationship with the imagined surface
The illusion of a solid wall depends on the performer keeping their hands and body at a fixed, unwavering distance from the imaginary surface.